By John Markert
In modern society, cinema has develop into a major means during which humans achieve wisdom approximately occasions happening on the planet. motion pictures usually transcend information studies through exhibiting in-depth, behind-the-scenes photos, even if in a documentary or recreated in fictional positive factors. greater than fleeting scenes of occasions proven at the nightly information, a movie can impression people's emotions approximately struggle and what our political leaders may still do approximately it. This has definitely been the case because the assault on Sept. 11 and the next incursions into Iraq and Afghanistan.
In Post-9/11 Cinema: via a Lens Darkly, John Markert takes an in depth examine the flicks depicting those occasions. overlaying cinematic portrayals of Sep 11 and the assaults that undefined, this e-book examines either dramas and documentaries that depict what a few have termed "Bush's war," in addition to rebuttal motion pictures, motion pictures approximately terrorist actions, and movies obvious from the vantage aspect of newshounds and armed forces group of workers. Post-9/11 Cinema not just exhibits how movies mirror societal values but additionally how such works can impression social attitudes and hence advertise switch. additionally, Markert appraises the movie and reviews how pictures are manipulated to sway the viewer to understand the facet being advocated.
Examining such dramas as The Messenger, Stop-Loss, The fortunate Ones, In the Valley of Elah, and The harm Locker, in addition to documentaries together with Fahrenheit 9/11, Soldiers of Conscience, and Taxi to the darkish Side, Post-9/11 Cinema is a helpful learn for professors of media and mass conversation, pop culture, and movie reviews, in addition to cultural sociologists.
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Additional info for Post-9/11 Cinema: Through a Lens Darkly
A second category of films depict 9/11 events (n=32) and analyze either what happened on the ground in New York City or in the air with United Flight 93. Both these categories are addressed in chapter 1. The third and largest category deals with the war on the ground in Iraq and Afghanistan (n=153); this category also includes a number of films depicting, in some detail, the terrorist threat today (n=5). This third category is chronologically examined: America’s initial foray into these regions is critiqued in chapter 1; subsequent chapters examine transition films that “argued” the merits of American involvement (2004 and 2005), and finale films (2006 through 2008), a term used not because the war was concluded during this period but because the public and cinematic debate had moved decidedly toward an exit strategy, and these films assert the reason this is desirable, generally—but not always—without denouncing those who serve in the military.
The eight-year war is glossed over. ” The Iran-Iraq conflict is boiled down to two key points for the American audience. ” The implication is that Saddam has WMD—his own weapons expert asserts this point throughout—and if he is pushed into a corner by the United States, he will use them. Though no WMD had been found since American troops entered the country, the film reasserts that they are there somewhere. It would not be until near the close of the first decade of the twenty-first century that Americans began to appreciate how they were sold the WMD premise.
Patricia R. Zimmerman, States of Emergency: Documentaries, Wars, Democracies (Minneapolis: University of Minnesota Press, 2000). 31. ” Sociological Inquiry 71, no. 2 (2001): 194–220. See also W. Weber, “Beyond Zeitgeist: Recent Work in Music History,” Journal of Modern History 66, no. 2 (1994): 321–45; Jay R. Howard, “Contemporary Christian Music: Where Rock Meets Religion,” Journal of Popular Culture 26, no. 1 (1992): 123–30; John Markert, “Superstitious Peasants: Religious Images on Spanish-Language Television in the United States,” Sociological Imagination 43, no.